Journal articles: 'Pynchon, Thomas English Literature'

1

Cowart, David, and Joseph W. Slade. "Thomas Pynchon." American Literature 65, no. 1 (March 1993): 170. http://dx.doi.org/10.2307/2928104.

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Varsava, Jerry A. "Thomas Pynchon and Postmodern Liberalism." Canadian Review of American Studies 25, no. 3 (January 1995): 63–100. http://dx.doi.org/10.3138/cras-025-03-05.

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Mellard, James M., and David Seed. "The Fictional Labyrinths of Thomas Pynchon." American Literature 61, no. 1 (March 1989): 131. http://dx.doi.org/10.2307/2926542.

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Mendelson, Edward, and John Dugdale. "Thomas Pynchon: Allusive Parables of Power." American Literature 64, no. 4 (December 1992): 842. http://dx.doi.org/10.2307/2927669.

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Veggian, H. "Thomas Pynchon Against the Day." boundary 2 35, no. 1 (March 1, 2008): 197–215. http://dx.doi.org/10.1215/01903659-2007-032.

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Eve, Martin Paul. "Thomas Pynchon & the Dark Passages of History / Pynchon and Relativity: Narrative Time in Thomas Pynchon's Later Novels." Textual Practice 26, no. 5 (October 1, 2012): 973–78. http://dx.doi.org/10.1080/0950236x.2012.730736.

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Seed, David, and Niran Abbas. "Thomas Pynchon: Reading from the Margins." Modern Language Review 99, no. 4 (October 2004): 1042. http://dx.doi.org/10.2307/3738533.

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Merrill, Robert, and Thomas Moore. "The Style of Connectedness: Gravity's Rainbow and Thomas Pynchon." American Literature 60, no. 1 (March 1988): 136. http://dx.doi.org/10.2307/2926418.

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Weisenburger, Steven. "Thomas Pynchon at Twenty-Two: A Recovered Autobiographical Sketch." American Literature 62, no. 4 (December 1990): 692. http://dx.doi.org/10.2307/2927077.

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Muth, Katie. "The grammars of the system: Thomas Pynchon at Boeing." Textual Practice 33, no. 3 (February 26, 2019): 473–93. http://dx.doi.org/10.1080/0950236x.2019.1580514.

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Keesey, Douglas. ""A Flaw Not Only in Him": Rereading Thomas Pynchon." boundary 2 15, no. 3 (1988): 215. http://dx.doi.org/10.2307/303263.

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McH., B., Theodore D. Kharpertian, Alec McHoul, David Wills, and David Seed. "A Hand to Turn the Time: The Menippean Satires of Thomas Pynchon." Poetics Today 12, no. 1 (1991): 196. http://dx.doi.org/10.2307/1772996.

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Shoop, Casey. "Thomas Pynchon, Postmodernism, and the Rise of the New Right in California." Contemporary Literature 53, no. 1 (2012): 51–86. http://dx.doi.org/10.1353/cli.2012.0001.

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Varsava, Jerry A., and Cyrus R. K. Patell. "The Dialectics of Self and Community in Toni Morrison and Thomas Pynchon." Contemporary Literature 43, no. 4 (2002): 794. http://dx.doi.org/10.2307/1209043.

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O'Bryan, Michael. "Anarchist Withdrawal and Spiritual Redemption in James Joll and Thomas Pynchon." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 21, no. 1 (January 2008): 57–62. http://dx.doi.org/10.3200/anqq.21.1.57-62.

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16

Sandberg, Eric. "Thomas Pynchon and Paul Thomas Anderson’s Inherent Vice(s) and the Affective Politics of Nostalgia." Adaptation 13, no. 3 (November 3, 2019): 295–312. http://dx.doi.org/10.1093/adaptation/apz028.

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Abstract This essay examines Thomas Pynchon’s 2009 Inherent Vice and Paul Thomas Anderson’s 2014 adaptation of the novel. These works are closely connected, and can be effectively viewed as two parts of a single transmedia text which includes a novel, a film, and two trailers. All of the constituent parts of this meta-Inherent Vice are informed by their engagement with nostalgia. Yet it is precisely here that the texts diverge from each other most markedly, activating different types of nostalgia for different purposes. While much contemporary scholarship relies on Svetlana Boym’s reflective/restorative binary to conceptualize the phenomenon of nostalgia, this reading argues that a public/personal divide offers another perhaps more appropriate lens to view the differences between the two versions of Inherent Vice. Pynchon’s novel emphasizes the political potential and social aspects of nostalgia, while Anderson’s film focuses on its personal, affective impact.

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Grgas, Stipe. "Structure and Resistance in Thomas Pynchon’s Bleeding Edge." Cross-cultural studies review 1, no. 1-2 (April 15, 2020): 111–26. http://dx.doi.org/10.38003/ccsr.1.1-2.6.

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From his first to his last novel, Pynchon has addressed the “constraints” hemming in human existence and gestured to different ways of transcending these. After summarizing the way his novels exemplify this twofold movement I will offer a reading of his last novel Bleeding Edge and show how the dialectic between structures of power and human resistance continue to order the narrative. My reading of the novel will argue that, like in his previous work, the cooption of utopian potential resurfaces in this work and offers a vivid way of analyzing “speculative change” in literature.

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18

Radchenko, Simon. "Bleeding Edge of Postmodernism: Metamodern Writing in the Novel by Thomas Pynchon." Interlitteraria 24, no. 2 (January 15, 2020): 495–508. http://dx.doi.org/10.12697/il.2019.24.2.17.

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Many different models of co ntemporary novel’s description arose from the search for methods and approaches of post-postmodern texts analysis. One of them is the concept of metamodernism, proposed by Timotheus Vermeulen and Robin van den Akker and based on the culture and philosophy changes at the turn of this century. This article argues that the ideas of metamodernism and its main trends can be successfully used for the study of contemporary literature. The basic trends of metamodernism were determined and observed through the prism of literature studies. They were implemented in the analysis of Thomas Pynchon’s latest novel, Bleeding Edge (2013). Despite Pynchon being usually considered as postmodern writer, the use of metamodern categories for describing his narrative strategies confirms the idea of the novel’s post-postmodern orientation. The article makes an endeavor to use metamodern categories as a tool for post-postmodern text studies, in order to analyze and interpret Bleeding Edge through those categories.

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Barciński, Łukasz. "Hipergeneryczne spektrum Tęczy grawitacji Thomasa Pynchona w przekładzie na język polski." Przekładaniec, no. 40 (2020): 240–59. http://dx.doi.org/10.4467/16891864pc.20.011.13174.

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The Hypergeneric Spectrum of Gravity’s Rainbow by Thomas Pynchon in Polish Translation The study deals with the issue of genre in translation with reference to the Polish rendition of Gravity’s Rainbow by Thomas Pynchon. Upon analysing the hypergeneric and heteroglottic aspect of the novel, by enumerating the possible classifications of the novel’s genre and facets of language variety, the study offers a new perspective on genre classification from the vantage point of Jacques Derrida’s philosophy, namely by the introduction of the term quasi-transcendental as the name of a superordinate genre, which could include not only Pynchon’s but also Derrida’s works. The recreation of a genre defined in this way in the act of translation consists in determining the pivotal elements in the text, which activate the process of signification concerning chains of binarities in Gravity’s Rainbow, i.e. the motifs of “interface” and “linearity” (related to the motif of “fold”, which could also become a diagrammatic model for the whole quasi-transcendental genre). Finally, the study offers conclusions as to the theory and practice of translation of higher-order genres such as the one posited herein.

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Barciński, Łukasz. "The Intricacies of the Postmodern Convention – Thomas Ruggles Pynchon in Polish Translation." Ad Americam 18 (January 30, 2018): 5–15. http://dx.doi.org/10.12797/adamericam.18.2017.18.01.

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The article presents the prominent figure of the contemporary American writer, Thomas Ruggles Pynchon, a leading representative of the postmodern literary convention. The study contains a brief introduction of his works, with a special focus on the canonical novel for the postmodern convention i.e. Gravity’s Rainbow. The study will also apply McHale’s concept of ‘ontological dominant,’ which aptly describes the shift from epistemological issues to existential ones occurring from modernist to postmodernist literature. Subsequently, the article discusses the main aspects of Pynchon’s literary works and e.g. the presumed mode of reading i.e. ‘creative paranoia,’ encyclopaedicity and the interpretatively inconclusive binarities. Then, two fragments from Gravity’s Rainbow in Polish translation are analyzed in terms of the preservation of the source text sense productive potential according to Venuti’s theory of ‘foreignization.’ Finally, the study offers conclusions related to the reasons as to why there seem to be considerable deficiencies in the Polish rendition of Pynchon’s novels, attributing this fact to the lack of an equivalent literary convention in the Polish literary environment.

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21

Freese, Peter. "Surviving the End: Apocalypse, Evolution, and Entropy in Bernard Malamud, Kurt Vonnegut, and Thomas Pynchon." Critique: Studies in Contemporary Fiction 36, no. 3 (March 1995): 163–75. http://dx.doi.org/10.1080/00111619.1995.9935250.

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22

Herman, Luc, Robert Hogenraad, and Wim van Mierlo. "Pynchon, postmodernism and quantification: an empirical content analysis of Thomas Pynchon’s Gravity’s Rainbow." Language and Literature: International Journal of Stylistics 12, no. 1 (February 2003): 27–41. http://dx.doi.org/10.1177/096394700301200102.

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Thomas Pynchon’s Gravity’s Rainbow (1973) has been received as a canonical instance of postmodernism. The novel appears to subvert traditional definitions of plot and characterization, yet the narrative retains a nagging sense of order underneath the represented chaos. Simultaneously evoking and undoing patterns on all levels of its narrative structure, Gravity’s Rainbow surreptitiously evokes the presence of a night journey (Martindale, 1979). An empirical content analysis of the novel confirms this ambiguous attitude with respect to patterning in the novel, and thus constitutes a first and modest step towards the quantification of postmodernism. First, a thematic analysis, calculating the co-variations of words across the chapters, corroborates the idea of a connectedness that seems to belie, in part, the pervasive presence of a paranoid hermeneutic. Second, a dictionary-based analysis of narrative sequences reveals an inverse night journey pattern that differs markedly from other patterns found for modernist novels. The configurations that were obtained in these analyses show that content analysis can distinguish empirically between two literary - historical concepts.

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23

Eve, Martin Paul. "Whose line is it anyway?: enlightenment, revolution, and ipseic ethics in the works of Thomas Pynchon." Textual Practice 26, no. 5 (August 16, 2012): 921–39. http://dx.doi.org/10.1080/0950236x.2012.709877.

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24

LETZLER, DAVID. "Crossed-Up Disciplinarity: What Norbert Wiener, Thomas Pynchon, and William Gaddis Got Wrong about Entropy and Literature." Contemporary Literature 56, no. 1 (March 2015): 23–55. http://dx.doi.org/10.3368/cl.56.1.23.

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25

Noon, Alistair. "The Gospel of Thomas." English: Journal of the English Association 68, no. 261 (2019): 204–5. http://dx.doi.org/10.1093/english/efz005.

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26

J. Paul Narkunas. "Corporatizing Life in A World System with Thomas Pynchon: “Networks of Interest” and Dispersed Organization." Criticism 58, no. 4 (2016): 647. http://dx.doi.org/10.13110/criticism.58.4.0647.

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27

Piqueras, Belén. "Material culture and antihuman subjectivities in postmodernist literature." Journal of English Studies 14 (December 16, 2016): 203. http://dx.doi.org/10.18172/jes.2814.

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The relation between subject and object in contemporary societies is a key concern of much postmodernist literature, authors often denouncing the superfluous pervasiveness of material culture in our lives and our absurd dependence on the artificial systems of meaning that we project on the world of things.The antihumanism that is commonly identified with postmodern culture finds a congenial formulation in Postructuralist theories, which consider meaning not as an absolute concept, but always arising of a web of signs that interrelate; the key issue is that for most Postructuralist thinkers –among them Jean Baudrillard and his definition of the ‘hyperreal’– these codes on which culture is founded always precede the individual subject, annihilating all prospects of human agency.Postmodern authors like Thomas Pynchon, Don Delillo or William Gibson foster the debate on the nature of those underlying structures, and offer manifold portraits of these frail, commodified, and antihuman subjectivities that are very often the product of progress

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28

Burness, Edwina. "Thomas Dawks'sThe complete English‐man(1685)." English Studies 69, no. 4 (August 1988): 331–40. http://dx.doi.org/10.1080/00138388808598584.

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29

Richard Hardack. "Consciousness without Borders: Narratology in Against the Day and the Works of Thomas Pynchon." Criticism 52, no. 1 (2010): 91–128. http://dx.doi.org/10.1353/crt.2010.0018.

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30

Barciński, Łukasz. "“Orders Behind the Visible” – Puritan Elements in the Polish Translation of "Gravity’s Rainbow" by Thomas Pynchon." Ad Americam 19 (February 8, 2019): 103–11. http://dx.doi.org/10.12797/adamericam.19.2018.19.07.

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The article discusses contemporary American writer Thomas Ruggles Pynchon, a leading representative of postmodernism in literature. The study contains an examination of possible references to Puritanism in his novel, Gravity’s Rainbow. Religious motifs seem to play a crucial role in the interpretation of Pynchon’s work where the past is combined with the present and the Puritan religious doctrine merges with a paranoid approach to reading. Then, fragments from Gravity’s Rainbow in Polish translation are analyzed in terms of preserving the source text’s productive potential regarding the most important Puritan themes in the novel, e.g. animal symbolism and the doctrine of Preterition. Finally, the study offers conclusions related to the extent to which Puritan elements are recreated in the target text, highlighting the most considerable losses and gains in the translation process.

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Eve, Martin Paul, and Joe Street. "The Silicon Valley Novel." Literature & History 27, no. 1 (March 20, 2018): 81–97. http://dx.doi.org/10.1177/0306197318755680.

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In this article we propose that one of the emergent, but under-charted, and as yet unnamed thematic strands in recent American fiction and that contributes to recent literary history is that of the ‘Silicon Valley novel’. The trend can be seen in the literary fiction of Tony Tulathimutte, Jarett Kobek, Thomas Pynchon, Don DeLillo, and Dave Eggers, to name but a few, but also in the trilogy of novels by Ann Bridges dubbed, ‘The Silicon Valley Trilogy’. Silicon Valley novels are concerned with the emergent technological industry in the Bay Area but they are also of a specific periodising moment. Hence, while named for the geography, we here situate the Silicon Valley novel as more tied to time in the early twenty-first century.

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32

Schatz-Jakobsen, C. "Thomas Carlyle and the “Characteristics” of Nineteenth-Century English Literature." Orbis Litterarum 56, no. 3 (June 2001): 183–204. http://dx.doi.org/10.1034/j.1600-0730.2001.d01-43.x.

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Alexander, John. "WILL KEMP, THOMAS SACHEVILLE AND PICKELHERING." Daphnis 36, no. 3-4 (May 1, 2007): 463–86. http://dx.doi.org/10.1163/18796583-90001034.

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Pickelhering was the most popular stage clown on the seventeenth-century German stage, yet his origins are shrouded in mystery and controversy. On the basis of a careful analysis of this persona, as represented in the first major collections of the English Players from 1620 and 1630, with what is known about two heralded English actors from the 1590s, i.e. Shakespeare’s clown, Will Kemp, and his counterpart on the Continent, the linguistically talented Thomas Sacheville, I will present strong circumstantial evidence that both actors, in particular Kemp, may be regarded as comic prototypes for the English Pickelhering.

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34

Griffith, M. "THOMAS A. BREDEHOFT, Early English Metre." Notes and Queries 56, no. 1 (February 5, 2009): 98–99. http://dx.doi.org/10.1093/notesj/gjn212.

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35

Longley, E. "An Atlantic Chasm? Edward Thomas and the English Lyric." Literary Imagination 16, no. 2 (February 25, 2014): 233–47. http://dx.doi.org/10.1093/litimag/imt092.

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36

Stock, Richard. "Louise Erdrich’s Place in American Literature: Narrative Innovation in Love Medicine." Prague Journal of English Studies 5, no. 1 (July 1, 2016): 119–39. http://dx.doi.org/10.1515/pjes-2016-0007.

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Abstract As a novelist, Louise Erdrich is unique in receiving both popular and critical acclaim. Strangely, her popular appeal has discouraged study of her novels as experimental narrative texts. This is unfortunate, since innovations in Erdrich’s novels rival much “experimental” contemporary American fiction. This study outlines a convention of a three-level hierarchy of characters in novels and compares this convention with two experimental American novels: Infinite Jest (1996) by David Foster Wallace and Gravity’s Rainbow (1973) by Thomas Pynchon. The study then addresses Erdrich’s first novel, Love Medicine (1984), to show that it is unique in not having a main character. Although the other two experimental novels try to do without a main character, neither of them succeed at getting beyond this convention. Love Medicine innovates in at least one major narrative convention in a way that other experimental novels cannot do. This is one way in which Louise Erdrich and Love Medicine compare favorably to some of the most respected experimental contemporary American novels. Erdrich’s novels should take their place alongside other experimental American novels, being studied in similar ways, regardless of whether they are also read by a broad public audience.

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37

Abdurrahmani, Tidita. "Magical Realism and Intertextuality in Selected 20th Century American Ethnic Novels." European Journal of Language and Literature 4, no. 1 (April 30, 2016): 117. http://dx.doi.org/10.26417/ejls.v4i1.p117-127.

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The focus of this contribution is on the elements of magical realism and intertextuality in 20th century American Ethnic Novels. To some critics a text is just a palimpsest or tablet that has been written upon or inscribed two or three times. The other texts having been perfectly erased and remaining still partly visible. To this trait is associated even the idea that the intertext is a general field of anonynymous formulae, of unconscious or automatic quotations. Given without quotation marks. Sometimes attention to the character of intertextuality goes so far as to argue that the reader's own previous readings, experinces and position within the cultural formation also form a cruxial intertext. An in depth reading and analysis of John Barth, Thomas Pynchon, Irving Howe and Michael Kohler presented in this paper aims at proving proof to the widely held belief that intertextuality is the parasite that dwells within every postmodern text, especially American Postmodern literature. On the other hand unlike the fantastic or the surreal , magical realism presumes that the individual requires a bond with the tradition and the faith of community, that he or she is historically constructed and connected. The elements employed in magical realism are not completely fantastical and unearthly, they are just part of another culture and are dismissed by our rational Western minds as unreal and inpossible integral part of their reality. To put back together shattered cultural fragments through storytelling , often implies to remember , that is to put oneself , ones identity back together. The magical realism elements in Rudolf Anaya, Ralph Ellison. Leslie Marmon Silko and Thomas Pynchon show that this technique is the most adopted stylistic effect of relating the postmodern world to the preserved and revisisted cultural and historical traditions of the ethnic americans.

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38

Moss, Richard. "Review of David Letzler’s “Cross-Up Disciplinarity: What Norbert Wiener, Thomas Pynchon, and William Gaddis Got Wrong about Entropy and Literature.”." Journal of Literature and Science 9, no. 1 (July 1, 2016): 62–63. http://dx.doi.org/10.12929/jls.09.1.06.

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39

Sivefors, Per. "Prayer and Authorship in Thomas Nashe’s Christs Teares over Jerusalem." English 65, no. 250 (September 18, 2016): 267–79. http://dx.doi.org/10.1093/english/efw031.

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40

Burnham, Michelle. "Land, Labor, and Colonial Economics in Thomas Morton's New English Canaan." Early American Literature 41, no. 3 (2006): 405–28. http://dx.doi.org/10.1353/eal.2006.0031.

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41

North, Julian. "The English Opium Eater. A Biography of Thomas De Quincey." European Romantic Review 24, no. 4 (August 2013): 489–91. http://dx.doi.org/10.1080/10509585.2013.807638.

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42

Braund, Susanna. "Thomas Twyne's Appropriation of Thomas Phaer's Æneidos: ‘Worke unperfyt’ Perfected?" Translation and Literature 27, no. 3 (November 2018): 287–305. http://dx.doi.org/10.3366/tal.2018.0352.

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Abstract: This paper attempts to reconstruct from the limited evidence available the rationale and development of Thomas Twyne's completion (1573–84) of Thomas Phaer's unfinished English translation of the Aeneid (1555–60). In Phaer's hands, it is suggested, ‘continuation’ and ‘completion’ gradually turn over time into ‘competition’, ‘absorption’, and even ‘appropriation’. A key element in this process is Phaer's decision to add to the twelve books of Virgil's epic his translation of Maffeo Vegio's Latin Supplementum (1428): Twyne brings a similar kind of closure to Phaer's project to that involved in Vegio's Aeneid Book 13.

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43

Newport, B. "The Collected Letters of Thomas Hardy. Volume 8. Further Letters 1861-1927." English 62, no. 237 (May 8, 2013): 216–18. http://dx.doi.org/10.1093/english/eft024.

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Edwards, A. S. G. "Thomas Linacre and a Middle English Brut Manuscript." Notes and Queries 54, no. 4 (December 1, 2007): 376. http://dx.doi.org/10.1093/notesj/gjm192.

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45

Buck, Timothy. "Loyalty and Licence: Thomas Mann's Fiction in English Translation." Modern Language Review 91, no. 4 (October 1996): 898. http://dx.doi.org/10.2307/3733517.

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46

Bowers, Rick. "Thomas Phaer and the Assertion of Tudor English." Renaissance and Reformation 33, no. 4 (October 1, 1997): 25–40. http://dx.doi.org/10.33137/rr.v33i4.11373.

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Thomas Phaer's many printed works, including legal and medical texts, occasional verses, and classical translations, all insist upon - even assert - English as a language suitable for learned consciousness. As a physician, legal theorist, man of letters, and member of Parliament, Phaer represents a new English praxis of cultural and intellectual communication. His life and work are centered in the vicissitudes of Tudor polity, wherein he works to mobilize the vernacular and, in so doing, assert early modern English culture.

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47

Schmidt, Gabriela. "Hidden presences of Thomas More in Marian Literature." Moreana 56 (Number 212), no. 2 (December 2019): 213–31. http://dx.doi.org/10.3366/more.2019.0062.

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The cultural politics of Catholic restoration under Mary Tudor have been as crucial to the historical legacy of Thomas More as More's image was to the regime's own historical self-presentation. Not only did the Marian period see the first reappearance in print of many of More's writings after twenty years, the overwhelming presence of More's figure and work in official Catholic discourse, especially from 1556 onwards, also generated many instances of implicit Morean echoes pervading a great variety of Marian literary texts and genres. This essay analyses a number of such hidden presences of More within classical translations of the period, from John Brende's History of Quintus Curtius, which was issued almost simultaneously with the 1553 Marian edition of More's Dialogue of Comfort, to George Colvile's Boethius and Nicholas Grimald's De officiis (both published in 1556), whose appearance coincided with the preparation of More's English Workes for print. As it emerges, such implicit echoes and allusions to More's life and writings not only reshaped the classical works themselves, both updating them and enriching them with additional cultural and political significations; above all they helped to invest the program of Marian religious restoration with the credentials of classical learning promoted by the early Tudor humanists.

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48

Prośniak, Anna. "“Sardoodledom” on the English Stage: T. W. Robertson and the Assimilation of Well-Made Play into the English Theatre." Text Matters, no. 10 (November 24, 2020): 446–59. http://dx.doi.org/10.18778/2083-2931.10.25.

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The article discusses a vital figure in the development of modern English theatre, Thomas William Robertson, in the context of his borrowings, inspirations, translations and adaptations of the French dramatic formula pièce bien faite (well-made play). The paper gives the definition and enumerates features of the formula created with great success by the French dramatist Eugène Scribe. Presenting the figure of Thomas William Robertson, the father of theatre management and realism in Victorian theatre, the focus is placed on his adaptations of French plays and his incorporation of the formula of the well-made play and its conventional dramatic devices into his original, and most successful, plays, Society and Caste. The paper also examines the critical response to the well-made play in England and dramatists who use its formula, especially from the point of view of George Bernard Shaw, who famously called the French plays of Scribe and Victorien Sardou—“Sardoodledom.”

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Graham, Jean. "Thomas Traherne and Seventeenth-Century Thought. Edited by Elizabeth S. Dodd and Cassandra Gorman." English: Journal of the English Association 66, no. 253 (2017): 190–92. http://dx.doi.org/10.1093/english/efx012.

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50

Powell, Jason. "Puttenham's Arte of English Poesie and Thomas Wyatt's Diplomacy." Notes and Queries 52, no. 2 (June 1, 2005): 174–76. http://dx.doi.org/10.1093/notesj/gji210.

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Journal articles on the topic 'Pynchon, Thomas English Literature'

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